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Each installation shot of this exhibition as though cut from a different building entirely, of various architectures and at least 9 different flooring patterns, nearly one for every room. There is heavy disjuncture and little continuity between the spaces and these jarring cuts stand out against our growing predisposition for documentation that carefully establishes spatial relations of its installations. Like Kubrick intentionally breaking spatial continuity of the spooky hotel to create a viewer lost, there is unease in being disorientated, and in intaking a voluminous feed of disparate images the growing popularity for carefully sited images a way of avoiding the motion sickness of being in a sea.